Review

Sylvia

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

In 1903, Manchester, Emmeline Pankhurst founded the Women’s Social and Political Union (WSPU) to fight for the rights and betterment of women. Her name remains synonymous with the city, and she is almost universally the first name which comes to mind when women’s suffrage is mentioned. However, as the WSPU grew increasingly militant under the leadership of Emmeline and her eldest daughter, Christabel, middle daughter Sylvia and the path she takes gives us the focus of this powerful story.

Disillusioned by her mother and elder sisters increasingly radical methods, Sylvia fights to guide the Suffragettes toward a broader socialist agenda, fearing that their extreme tactics and restrictive focus will leave ordinary working-class people behind.

The production brilliantly captures the ideological rift tearing the Pankhurst family apart, resulting in a powerful exploration of family division as the Pankhurst’s feud over the socialist ideals Sylvia refuses to compromise on.

Beverley Knight takes on the role of Emmeline, an authoritative, no-nonsense presence who refuses to back down. Knight, like Emmeline is truly a force of nature, strong, compelling and utterly formidable. Her vocals are pitch perfect, as she delivers Emmeline with a steely, stirring determination.

Naomi Katiyo absolutely raises the roof in the titular role of Sylvia. She takes the audience on a truly remarkable journey, growing in strength and conviction despite the brutal conditions she endures. Rather than breaking her spirit, frequent imprisonment and regular hunger strikes only fuel her determination to succeed in her fight against inequality. Her vocals are perfection, delivering Kate Prince’s intricate lyrics with seamless control as she moves from heartbreakingly emotive to powerful and punchy with an incredible ease.

While Beverley Knight and Naomi Katiyo lead this cast superbly the production feels like a very special ensemble piece with every single person on stage well and truly at the top of their game. While every member of the cast deserves enormous praise, special mention must go to Ellena Vincent as Christabel, Tachia Newall as Kier Hardie, Uzuazo O’David as Harry Pankhurst, Kristie Skivington as Adela Pankhurst, Ivano Turco as Silvio Corio and Colette Guitart as Clementine Churchill, all are knock out.

The collaborative writing of Kate Prince (lyrics & book), Priya Parmar (book) Josh Cohen and DJ Walde (music) is a joy, covering multiple genres from hip-hop to soul in impressive style. The vocals in this mostly sung-through production are incredible, paired with Prince’s stunning choreography and direction the result is a slick, striking and visually enthralling piece.

There’s a wonderful balance between vocal numbers like Stand Up that feel like a call to arms and the deeply poignant I Don’t Want Blood on My Hands adding depth and complexity to the storytelling. Taking this to the next level is Prince’s choreography which is used to incredibly dramatic effect, none more so than during March Women March/Be The Change at the close of Act 1 which brought me and many of the audience to tears.

Ben Stones mostly monochrome set paired with Natasha Chivers and Hector Murray’s intentionally stark lighting allows the focus to stay firmly fixed on the characters as this politically charged story unfolds. Splashes of politically aligned colour appear as we move further into the timeline of the period adding clarity and broader character definition.

Sylvia is an absolute triumph, the cast are sublime while the production leaves you feeling, educated, entertained and empowered. Sylvia serves as a true reminder of the importance of standing up against injustice and inequality even when the path feels almost impossible. As a woman, from the North West I found the production deeply moving and a true reminder that we can all be changemakers. Inspirational, powerful and incredibly poignant, this is an absolute must-see.

Sylvia is on at The Lowry until Saturday 24th October tickets are available here.

The Choir of Man

Leave a comment

Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐⭐

In 2017, The Choir of Man, created by Nic Doodson and Andrew Kay, premiered at the Edinburgh Festival Fringe. The show instantly connected with audiences and found international success, this popularity has never faltered with the tour returning to the North West, this time showing at the Lowry much to the delight of this 2026 audience.

Set within an archetypal British pub, named The Jungle, the production immediately challenges conventional expectations of musical theatre, featuring a fully functioning bar on stage where audience members can enjoy a pint before and during the performance. More than a theatrical gimmick, the bar becomes the beating heart of the production, establishing a joyful atmosphere and bringing the world of the pub to life on stage. Within the opening five minutes, it becomes apparent that The Choir of Man is an unconventional musical, distinguished not only by its infectious energy but also by its exploration of masculinity, community and the cultural significance of the British pub. Rather than following a traditional linear narrative, the show unfolds as a celebration of shared experience, male friendship and the sense of belonging that community spaces can foster. Its characters, identified by archetypal titles such as ‘the Poet’, ‘the Barman’ and ‘the Romantic’, further reinforce this sense of familiarity. Each embodies a recognisable figure from the local pub, allowing the audience to identify with these characters almost immediately. Through this combination of familiar social archetypes and a shared theatrical space, Doodson and Kay create a compelling connection between performers and audience, inviting us to consider not only what it means to be a man, but also the universal human need for connection, acceptance and belonging.

The score adopts the style of a jukebox musical, weaving together popular and instantly recognisable songs from a variety of genres and eras including tracks from Adele, Katy Perry, Queen and Sia, all are reimagined and delivered with remarkable skill by the nine-strong cast. In another departure from conventional musical theatre, the songs do not necessarily drive the narrative; instead, the production embraces a concert-style format in which the performers acknowledge and engage directly with the audience. This breaking of the fourth wall is executed with infectious enthusiasm, creating an atmosphere of shared celebration that is warmly received by the Lowry audience.

Jack Blume’s musical arrangements are a particular highlight, with the impressive nine-part harmonies providing moments of genuine vocal splendour. Complementing Blume’s arrangements is Freddie Huddleston’s dynamic movement direction, which brings an additional rhythmic dimension to the performance. The infectious soundtrack seems almost impossible to resist, inviting toe-tapping and finger-clicking throughout, while Huddleston’s choreography builds on this energy through its integration of movement and percussion. Judging by the bopping heads and chair dancing throughout the auditorium, the Lowry audience is thoroughly embracing the evening’s communal spirit at ‘the Jungle’.

Debbie O’Brien certainly had her work cut out when casting this show. As stated above, The Choir of Man relies heavily on its performers delivering the triple threat of acting, singing and dancing, yet O’Brien seems to have struck gold with this cast. All nine performers share a wonderful chemistry, bouncing effortlessly off one another and fully embodying their ‘Everyman’ personas. None needs to be the obvious standout, the villain or the protagonist; instead, they must convincingly portray a group of ordinary men who are regulars at their local pub. Achieving this natural, easy camaraderie is no simple task, yet through O’Brien’s casting and the creative team’s direction, the company succeeds brilliantly. Ironically, in their efforts to portray ‘ordinary’ people, the cast prove truly sensational: their dancing is impeccably timed, their singing is world-class and their acting is exceptional.

With each character defined by a skill-based title, the performers must also embody the qualities their names suggest. The Poet (Oluwalonimi (Nimi) Owoyemi), for example, must be almost bard-like in his storytelling, particularly as he also serves as the narrator, driving the show forward. The Maestro (Gustav Melbardis) brings the qualities of a musical magician, while The Handyman (Jack Skelton) showcases his impressive tap-dancing ability. Meanwhile, The Beast (Lewis Dragisic) charms the audience with his charisma and dulcet tones. Alongside The Hard Man (Niall Woodson), The Joker (Ben Mabberley), The Barman (Joshua Lloyd), The Romantic (Sam Walter) and The Pub Bore (Aaron Pottenger), each performer contributes to the ensemble’s collective identity. These may be ordinary men, but there is certainly nothing ordinary about the performers bringing them to life. Their exceptional skill and infectious energy make these portrayals quite extraordinary. Oluwalonimi (Nimi) Owoyemi rendition of Luther Vandross’ ‘Dance with my Father’ left me speechless, the Lowry audience and I were not prepared for how devastatingly beautiful this version was and the harmonies from the other Choir cast mates was magical to watch.

Before coming to see The Choir of Man, the phrases used to describe the show were ‘high energy’, ‘pure joy’ and ‘a great night out’. All are true, but nothing can quite prepare you for the atmosphere this production creates. Its reimagined jukebox soundtrack has you tapping your feet, singing along and feeling as though you’re at a live concert. The fourth wall is well and truly shattered; you’re not simply watching the action, but becoming part of it, quite literally invited onstage to share a pint with the cast. Through clever casting, expert staging and infectious energy, it’s little wonder that the show has earned the international reputation it enjoys. Yet beneath the music, humour and good times lies something more meaningful: a celebration of community, an exploration of masculinity and male mental health, and a reminder that sometimes the most important thing is simply to be yourself. At its heart, The Choir of Man is about a group of lads down the pub, enjoying life and each other’s company. As the poster’s tagline puts it, ‘Music, Mates and Good Times’ — a sentiment that feels universally relatable. So, grab your mates and head to The Lowry for a night at the Jungle with The Choir of Man. You won’t regret it.

Showing at The Lowry until 17th October 2026, tickets are available here.

Little Shop of Horrors

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐⭐

Directed and choreographed by Tony and Olivier Award-nominated Carrie-Anne Ingrouille (Six), this bold revival takes Alan Menken and Howard Ashman’s beloved, cult classic and breathes new and utterly brilliant life into it resulting in a thrilling theatrical experience that you won’t want to miss.

Based on Roger Corman’s cult classic, Little Shop of Horrors introduces us to Seymour, (Jed Berry) a timid florist trapped as a browbeaten assistant to the harsh Mr Mushnik (Michael Starke). Life on Skid Row is pretty bleak, the shop is failing fast, and Seymour is secretly in love with his coworker, Audrey, however everything changes when he purchases a strange and interesting plant whom he names Audrey II. But, as the plant begins to wither, Seymour makes an alarming discovery…the plant needs human blood to survive. As the carnivorous Audrey II grows, so do Mr Mushnik’s profits and ultimately Seymour’s fame. Could this bloodthirsty beast be Seymour’s golden ticket out of the gutter and into Audrey’s arms or will the price of success be too high to pay?

Jed Berry is an absolute joy as Seymour, perfectly capturing the character’s wide-eyed innocence with a sweet, well-meaning sincerity that instantly wins over the audience. He entirely nails the essence of Seymour giving us a loveable underdog we can truly invest in while his vocals are utterly sublime. Stepping into the iconic shoes of Audrey is EastEnders and Strictly star Maisie Smith. Smith plays the Skid Row shop assistant with a delicate vulnerability, effortlessly blending sharp comedic timing with soaring, powerhouse vocals. Opposite Berry’s endearingly awkward and lovesick Seymour, the duo share a wonderful on-stage chemistry, their flawless, rendition of fan favourite “Suddenly, Seymour,” ensuring the audience is wholeheartedly rooting for this unlikely pair to succeed.

Michael Ayton gives us show-stopping vocals as Audrey II, effortlessly capturing the soulful, sinister sass of the blood-thirsty botanical beast. Brookside legend Michael Starke makes for a wonderfully scheming Mr Mushnik, while Benjamin Yates is perfectly cast as Leader of the Plaque, Orin Scrivello, the Dentist. Unhinged, unforgettable and utterly brilliant!

Special mention must also go to the iconic trio of narrators, Psalms-Nissi Myers-Reid as Crystal, Gabrielle Davina Smith as Ronnette, and Rio Maye as Chiffon. Their harmonies are to die for (literally), adding further depth to Alan Menken’s much-loved score while they deliver Carrie-Anne Ingrouille’s slick choreography to perfection.

Award-winning set and costume designer Morgan Large has constructed an incredibly striking set which impressively maximises the intimate space at Hope Mill Theatre, bringing Skid Row to Manchester in incredible style. The intricate Audrey II puppets (also designed by Morgan Large and created by Robert Allsopp) are seamlessly operated by a team of puppeteers (Julia Frost, Christopher Dobson and Imogen Khan) who together with Michael Ayton ensure there’s no mistaking this is a living, breathing, badass botanical.

Musical director Ben Barlow with sound designers Sam Glossop and Harry Greatorex ensure Alan Menken’s score sounds sharp and vibrant while Rory Beaton’s lighting design confirms the sheer quality of this production.

Forty years after the film first captured our hearts, this brand-new revival proves that the monster hit is bigger, bolder, and more of a must-see than ever before! Superb!

Little Shop of Horrors is on at Manchester’s Hope Mill theatre until 30th November before it heads to Liverpool’s Playhouse from 3rd December until 9th January tickets and info are available here.

The Silence of the Lambs

Leave a comment

Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

When it was first announced earlier this year that The Silence of the Lambs was being brought to the stage, I have to admit I was both intrigued and a little sceptical. It’s certainly a bold choice for a theatre production, given that the film is widely regarded as one of the greatest of all time and continues to feature highly in film polls. Then, of course, there are those much-loved and Oscar-winning performances from Jodie Foster and Sir Anthony Hopkins.

Thankfully, writer Gina Gionfriddo and director Nikolai Foster have done a superb job of bringing the story to the stage, creating something that feels fresh and distinctive rather than simply being a straight screen-to-stage adaptation.

Leaning more into Thomas Harris’s 1988 novel, the stage adaptation tells the story of FBI trainee Clarice Starling (Mollie Gallagher). She’s top of her class at Quantico and, despite still being relatively green, is given an assignment by Jack Crawford (Oliver Farnworth), head of the FBI’s Behavioural Science Unit. Crawford wants Starling to interview Dr Hannibal Lecter (John Partridge), a brilliant but deeply disturbed psychiatrist who is being held in a Baltimore hospital for the criminally insane. Lecter is also a particularly gruesome serial killer, with a rather unpleasant penchant for eating his victims.

Crawford hopes that Lecter might be able to provide some insight into another killer, known as ‘Buffalo Bill’ (Sam Jackson), who is currently at large. However, getting information from Lecter is never going to be straightforward. Before long, Clarice finds herself drawn into a dangerous psychological game of cat and mouse with a man who knows exactly how to get inside her head.

The production is smart enough to recognise that most of the audience coming to see it will already be familiar with the film, and so it wisely offers us something different. There’s much more interplay between Starling and Lecter, allowing us to delve deeper into their complex relationship, while the relationships between Starling and Crawford, and the shared history between Lecter and Crawford, are also given more room to develop. It adds an interesting new dynamic to the story, giving these familiar characters greater depth and adding further layers to an already gripping tale.

In addition, the production really leans into its theatrical setting, with Michael Taylor’s superb multi-purpose set design helps to create an atmosphere all of its own. As Clarice’s investigation progresses, we simultaneously see Buffalo Bill’s frustration mounting as he races to complete his “masterpiece”. Seeing both storylines unfold side by side creates an added sense of tension and urgency, keeping the pace moving even when the action itself is relatively restrained.

Taylor’s set is filled with dimly lit basements, shadowy corridors and grimy alleyways, it has a suitably dirty and grubby feel that fits the world of the story perfectly. This is in stark contrast to the recreation of Lecter’s iconic Perspex cell, where we get to see John Partridge switch effortlessly between a cold, calculating manipulator and something much more akin to a caged animal.

Partridge is a towering presence as Lecter, delivering a calm, measured performance filled with charm, wit and an unnerving stillness, punctuated by flashes of anger and rage. His physicality adds to the menace, and while a role like this could easily stray into hammy territory, Partridge never lets it, creating a Lecter who is genuinely unsettling.

Equally impressive is Mollie Gallagher in her professional stage debut. She strikes the perfect balance between Starling’s confidence and vulnerability, while her West Virginia accent is spot-on. She makes Starling a plucky, likeable heroine who is easy to root for.

The chemistry between Gallagher and Partridge is initially excellent, as they constantly jockey for position and size each other up, becoming increasingly fascinated by one another. Unfortunately, the final act loses some of this tension by shifting their relationship towards something closer to love, which doesn’t quite convince.

Sam Jackson gives a strong physical performance as Buffalo Bill, while the increased interaction between Bill and his victims adds an interesting layer to his character. Oliver Farnworth is also impressive as Jack Crawford, bringing warmth to the damaged, repressed mentor and giving us a real sense of his care for Starling, alongside his awareness of the danger he has placed her in.

It would have been easy for the production to rely on big jump scares and lashings of blood and gore. Instead, it wisely tones these elements down, meaning that when those moments do occur, they have far greater impact. The production relies much more on the psychological elements of the story to ratchet up the tension, building steadily towards a thrilling climax.

There are still plenty of memorable scenes and lines from the film, but this production is very much its own entity, offering something different while keeping you engaged from start to finish. Strong performances and high production values make for an entertaining and enjoyable night at the theatre, even if it doesn’t come served with fava beans and a nice Chianti!

The Silence of the Lambs is on at The Lowry until Saturday 10th October tickets and info available here.

The Spy Who Came in from the Cold

Leave a comment

Reviewed by Matt Forrest

Opening Night verdict ⭐⭐⭐⭐

Adapting one of the most celebrated and admired novels of the twentieth century for the stage is a daunting challenge, but playwright David Eldridge has approached John le Carré’s The Spy Who Came in from the Cold with remarkable confidence and skill. It is easy to understand why it has taken so long for one of le Carré’s novels to make its way to the stage, as expectations from devoted fans were always going to be high. Thankfully, Eldridge, alongside director Jeremy Herrin and tour director Joe Lichtenstein, have risen to the challenge. Together they have brought this intelligent and suspenseful thriller vividly to life, preserving the novel’s atmosphere of intrigue while delivering a production filled with twists, turns, betrayals and double-crosses. The result is a gripping and compelling evening of theatre that does full justice to its acclaimed source material.

Set in 1963, with Cold War tensions between East and West at breaking point and the Berlin Wall still a recent and imposing symbol of division, the story introduces us to Alec Leamas (Ralf Little), a weary British intelligence officer preparing to leave Berlin and the dangerous world of espionage, following the death of his trusted agent and friend, Karl Riemeck (Jonny Burman). Instead of a quiet retirement Leamas is persuaded to undertake one final mission, lured by the promise of revenge against Hans-Dieter Mundt, (Peter Losasso) the ruthless East German intelligence officer responsible for Riemeck’s death.

Hovering over the operation is the seemingly retired master spy George Smiley (Tony Turner), whose reputation and mentoring is ingrained in Leamas’s conscience throughout the mission. As his carefully constructed assignment unfolds, Leamas finds himself navigating an increasingly tangled web of deception, where every move appears to have been anticipated. Matters become even more complicated when he meets Liz Gold (Gráinne Dromgoole), a kind-hearted young Jewish Communist librarian whose growing affection for Leamas offers him a glimpse of a life beyond espionage.

As Leamas begins to question not only who he can trust but also the morality of the organisation he has served so loyally. He desperately tries to stay one step ahead of the lies, manipulation and betrayal in the hope of getting out alive.

Despite an opening that is perhaps a little too reliant on exposition, the script soon finds its rhythm, navigating the novel’s intricate plot with clarity. At the heart of the production is a superb performance from Ralf Little as Alec Leamas. Little brings real depth to the role, portraying the veteran spy with an air of paranoia, cynicism and emotional fatigue, while never losing sight of the resilience and unwavering sense of duty that define the character. He also finds moments of dry humour that puncture the tension and provide welcome flashes of levity, although one comedic moment towards the conclusion feels slightly out of place and doesn’t quite land.

The relationship between Leamas and Liz Gold forms the emotional core of the production, and the chemistry between Little and Gráinne Dromgoole ensures the audience remains fully invested in their growing connection. Dromgoole is equally impressive, portraying Liz as a compassionate, idealistic and quietly courageous young woman who becomes an unwitting pawn in a dangerous game of political manipulation. Her warmth provides a striking contrast to Leamas’ hardened exterior, making their relationship all the more poignant.

Despite the vast scale of the Lyric Theatre stage, production designer Max Jones creates a world that feels remarkably claustrophobic and oppressive. Through a minimalist set, cleverly configured to suggest multiple locations, the production evokes the suffocating atmosphere of Cold War Berlin with impressive economy. Paul Englishby’s haunting, noir-inspired score heightens the sense of unease throughout, while Azusa Ono’s atmospheric lighting design makes striking use of shadow and darkness to reinforce the themes of secrecy, surveillance and deception. It is a perfect example of the old adage that less is more, with every design element working in harmony to immerse the audience in le Carré’s morally ambiguous world.

As expected in a Cold War thriller, moments of violence are inevitable. Though used sparingly, they are impactful, uncomfortable and gripping, adding to the production’s realism rather than feeling gratuitous. Expertly choreographed by fight director Salvatore Sorce, they leave a lasting impression.

This is a well-crafted and faithful adaptation that captures the spirit of le Carré’s novel and keeps the audience engaged from the very beginning. It is refreshing to see a literary adaptation make such a successful transition to the stage. A must-see for devoted le Carré fans, it also serves as an excellent introduction for newcomers to his work.

The Spy Who Came in from the Cold is at the Lowry until 25th July tickets are available here.

Annie

Leave a comment

Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐⭐

The girl who taught us to believe that “…the sun’ll come out tomorrow” is back in Manchester. Based on the 1924 comic strip ‘little Orphan Annie’ by Harold Gray, Annie first opened on Broadway in 1977 and has been delighting audiences across the globe ever since. But what is it about Annie that continues to captivate theatre goers nearly 50 years later?

At its heart is the story of eleven-year-old Annie (Victoria Alsina), a sprinted, red haired orphan, whose determination and optimism never wavers despite the hardships she faces. Constantly escaping in search of the parents she longs to find, Annie’s dreams are repeatedly crushed by the cruel and embittered Miss Hannigan, played with gusto by La Voix. However, Annie’s greatest challenge may be winning over the wealthy Oliver Warbucks (Alex Bourne). With the support of Grace Farrell (Tanisha-Mae Brown) and the Warbucks household staff, Annie sets out to change his life – and perhaps her own – in the process.

Despite being set during the Great Depression this show is filled to the brim with energy and heart. Colin Richmond’s set design reinforces this contrast, instantly transporting the audience to 1930’s New York City. The Orphanage is presented as a bleak and unforgiving environment which reflects the harsh realities of the era as well as the difficult circumstances in which Annie lives. This is complemented wonderfully by the stark lighting and the worn threadbare costumes of Annie, the orphans and even Miss Hannigan. All these elements, together, create the perfect anthesis to Annie’s sunny disposition, allowing her optimism and resilience to shine through. A mindset that is highly welcomed by this 2026 audience.

Another element that is highly welcomed is the incredible cast of this production. Starting with the headline hero – Annie herself, Victoria Alsina, she fully embodies the role and thrives in her portrayal. Alsina combines humour, charm and attitude into her version of Annie that creates a fresh feel to this audacious orphan.

Alex Bourne delights as Oliver (Daddy) Warbucks, he begins as the tough loving business tycoon whose icy exterior slowly thaws as Annie’s charm takes over. Both Bourne and Alsina work wonderfully together and his character transition from prickly to paternal is heartwarming to watch.

As Grace Farrell, Tanisha-Mae Brown brings elegance and warmth to the character and plays a key role in Warbucks’ transformation. Her performance is complemented by Richmond’s clever costume design which remains faithful to the 1930s aesthetic while giving Grace a modern sophistication.

The villains are equally impressive. Christian Cooper and Amber Kennedy fully commit to their roles as Rooster and Lily and fully deliver as the scheming duo. Cooper makes Rooster as despicable as required, while Kennedy’s Lily is equally as detestable. The highly anticipated rendition of ‘Easy Street’ doesn’t disappoint and is a standout moment in the show filling the theatre with energy and excitement.

However, it is La Voix’s Miss Hannigan who steals the show. La Voix is the reason I wanted to see this show, and she certainly does not disappoint. She explores every facet of the character and transitions effortlessly between comedy, bitterness and vulnerability. At times Miss Hannigan’s treatment of the orphans cements her villainess character, yet by the end of the show, La Voix has charmed the audience so much that it is impossible not to fall in love with her.

I knew coming to watch this show that I was going to enjoy it. Annie is a timeless tale about hope, never giving up and trusting love will always win. Told primarily through a child’s voice it still managed to touch adult hearts which makes this show such a success. As mentioned throughout the talented cast and creative team make this production a triumph. Every set and costume choice allows the performers to fully embody their characters which in turn allows the audience to become completely immersed in the show. Director Nikolai Foster has successfully created a beautifully balanced production which, despite its occasional darker themes, retains the warmth and familiarity of your favourite film. I thoroughly enjoyed the show and am certain future audiences will too.

Don’t wait until tomorrow book now and let Annie enchant you – showing at the Palace Theatre Manchester until Saturday 20th June, tickets available here.

Waitress

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐⭐⭐⭐

Adapted from Adrienne Shelly’s 2007 film, with a book by Jessie Nelson, music and lyrics by Sara Bareilles and presented for this 10th anniversary tour by Abbey O’Brien, Waitress serves up an inspiring mix of self-empowerment, southern sisterhood, and super sharp wit.

The story centres on Jenna (Carrie Hope Fletcher), a gifted baker working at Joe’s Pie Diner. While famous locally for her creative flavour combinations, her personal life is far from sweet. Her abusive, controlling husband Earl (Mark Willshire) drains the joy from life with his belittling, controlling and abusive behaviour.

Jenna’s daily escape fantasies not only inspire her unique pie specials but also cleverly drive the narrative forward. Supported by her close friends and fellow waitresses, Becky (Sandra Marvin) and Dawn (Evelyn Hoskins), Jenna faces a life-changing moment when she discovers she is pregnant. The story then takes a rather unexpected turn as she begins a passionate affair with her gynaecologist, Dr Pomatter (Dan Partridge).

This uplifting female-led story bursts with heart as we follow Jenna’s journey from using baking as an escape to discovering her true self-worth and ultimately independence. Carrie Hope Fletcher makes for a perfect Jenna, she leads the cast with charisma, warmth and a strong, steely determination. Her delivery of iconic ballad She Used to Be Mine is sensational, heart-felt and emotionally authentic. The chemistry between Jenna and her co-workers/besties Becky (Marvin) and Dawn (Hoskins) feels real and relatable ensuring we believe in this trio entirely. Both Marvin and Hoskins have played these roles before and slip naturally back into these fully formed, enormously endearing characters. The audience lap up both Becky’s sass and Dawn’s likeability which Marvin and Hoskins deliver in bucketloads.

While this powerful production is superbly female led, the male characters are exceptionally well-cast too. Dan Partridge is immensely endearing as the clumsy yet charming Dr Pomatter. Mark Anderson brings pure joy to the stage as the eccentric Ogie, pairing beautifully with Evelyn Hoskins’ wonderfully kooky Dawn. While Dan O’Brien and Mark Willshire put their own impressive stamps on their very differing characters, Cal and Earl. Additionally, Les Dennis adds emotional weight as diner owner Joe, bringing a wise understanding to Jenna’s journey.

Waitress doesn’t shy away from serious subjects including domestic abuse, infidelity and unwanted pregnancy but manages to offset them cleverly with sharp comedic timing. The result is a brilliantly balanced emotional journey, packed with witty, relatable dialogue that will move you to tears one moment and have you laughing out loud the next. Add to this Sara Bareilles melodic and memorable score and you really have got the recipe for a genuinely sweet musical treat. Waitress is a big, brilliant slice of theatrical magic that proves life’s messy ingredients can still bake up something truly beautiful.

Waitress is on at Manchester’s Palace Theatre until Saturday 30th May tickets are available here.

Double Indemnity

Leave a comment

Reviewed by Sophie Rowley

Opening Night verdict ⭐⭐⭐

Credited as “one of the great crime novels of the 20th century” the 2026 stage adaption of Double Indemnity is now showing at Manchester’s Opera House. Originally a novella by James M Cain in 1943, then in 1944 a classic film noir film by Billy Wilder, and now Tom Holloway, Oscar Toeman and their creative team present a reimagining of Cain’s story which promises to thrill and delight audiences with a stylised immersive production of this film noir classic.

The 1930’s aesthetic is told through a stylised theatrical lens, Holloway and the team lean on every Noir nuance of shadow lighting and sharp design, smoke effect and dialogue to depict a period which is renowned for decay and depression, greed and corruption. When Phyllis Nirdlinger (Mischa Barton) walks into Walter Huff’s (Ciaran Owens) life with an interesting proposal, his life is never the same. Suddenly Walter is pulled into a tense world of manipulation and betrayal which leaves Walter questioning everything he knows, he truly is under the spell of Phyllis, the original Femme Fatale.

As an insurance salesman, Walter Huff needs to have a keen eye for detail, and prides himself on being able to spot a scam. Then Phyllis Nirdlinger enters his life wanting to discuss her husband’s life insurance policy – now everyone knows this conversation can never go well. Walter is now sucked into Phyllis’s web – embroiled in a world of lies, seduction and betrayal. Ciaran Owens commands the stage from the second he enters; he exudes confidence and charm throughout. I am a fan of a fourth wall break and Holloway’s use of this technique works well. It is this breaking of the fourth wall that allows the audience to see the break in Walter’s character and Owens portrays this extremely well.

Making her UK debut Mischa Barton is headlined as the femme fatale Phyllis Nirdlinger, she bravely takes on the role of a villain and plays heavily on the film noir stereotype. Barton attempts to build tension throughout, her body language is dramatic, she stares longingly into the audience slowing her speech so every word is heard. Dressed in a burnt orange dress, adding a splash of colour but fully embracing the film noir aesthetics in her mannerisms. Barton’s and Owens’ work well together but I did want them to have a little more chemistry, however as a duo they successfully build the tension in the first act. Despite Barton being the headliner, the star role has to go to Martin Marquez. Marquez pairs well with Owens as his boss Keys, where in a story centred on murder, these two present a vulnerable element which is wonderfully endearing. As always there are a number of multiple role parts which demonstrate the talent of an ensemble, Oliver Ryan, Joseph Langdon, Gillian Saker and Sophia Roberts all deliver each of their role with ease and an abundance of presence. Each character adds an extra element to the play which all allow the plot to flow in the classic film noir style.

Ti Green’s set captures the nuances of Film noir, the backdrop of a reverse Hollywood sign acts as a constant reminder that they are more on the depressive side of the 1930 rather than the American Dream optimism. In addition, the bare construction of the sets provide the perfect antithesis to Hollywood’s stereotypical glamour. Greens set is utilised well, for a static set the multiple uses Green incorporates is quite impressive. Joshua Gadsby’s lighting and Dan Balfour sound design, pairs well with Greens set and this trio’s attempt to create the film noir spectacle is commendable. The constant use of the smoke effect, was a little overdone and at times it did appear a bit heavy on the stage when the characters were not moving. Green’s choice of costumes cleverly evoke the 1930’s style, providing each character with a sleek and classic silhouette which fills the production with a glamorous feel. Phyllis’ costumes are elegant and stylish and despite not obvious in colours, the polished outlines add to her seductive temptress character. Owens’ suits are symbolic of 1930 style, creating a more formal business-like aesthetic to Walter’s wardrobe. Green’s interesting use of tailoring and intentional character driven styles reinforces the noir aesthetic.

Presenting film noir on stage is a difficult task but Holloway’s production is well executed. Aesthetically the creative team adaptation of Cains tale does work well, where possible every nuance of Film Noir has been captured. The polished and elegant costumes contrast with the industrial/ construction style set resulting in them being symbols of the moral decay of the characters.  The forefront of this story is murder and is obviously a prominent theme of the play, however through Owens and Barton’s characterisation this play becomes more than this. Holloway contrasts comedy and tenderness with murder and seduction and in doing so begs the audience to question their moral compass. Made even more emphatic by having Owens continually break the fourth wall, Holloway literally involves the audience in the characters thoughts and feelings which gives this play a human quality that in my opinion makes it an interesting watch.

Double Indemnity is on at Manchester’s Opera House until Saturday 2nd May tickets are available here.

Acosta Danza Carmen

Leave a comment

Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️

Acosta Danza arrived at the Opera House in Manchester last night, presenting Carlos Acosta’s extended version of his production of Carmen. This reworking of such a famous opera and ballet is striking and contemporary.

The first act introduces Carmen (Amisaday Naara), a factory worker, and Don Jose (Alejandro Silva), a soldier whose lives collide following Carmen’s arrest. One of the most memorable moments occurs early on. The pair weave in and out of a caged structure, Carmen’s wrists bound to a rope held by Don Jose. The choreography here is particularly clever, clearly requiring complex problem solving and meticulous rehearsal to avoid any accidental entanglements. It visually captures the power dynamic and growing tension between the two characters.

Naara and Silva portray the intense passion of Carmen and Don Jose’s relationship excellently. Their chemistry is undeniable, enhanced by beautiful lines and stunning classical technique. The whirlwind romance feels fuelled by lust and circumstance rather than genuine love, which makes their eventual downfall even more inevitable.

One character I struggled to fully connect with was Bull (Aniel Pazos). His presence onstage was undeniably powerful, yet despite Acosta describing him as a ‘Master of Ceremonies’, this did not entirely translate. His function within the narrative felt unclear.

I also felt that some of the corps de ballet sections in Act One lacked the refinement seen in the duets and solos. However, this was resolved in the opening of Act Two which featured the newly added tavern scene for the corps de ballet, which proved to be the standout moment of the entire production. Without having seen the original version, it is difficult to imagine the work without this scene. The dancers brought infectious energy, and the Cuban flair shone through.

 Following this, Escamillo (Paul Brando) is introduced, and Carmen instantly falls for him. In contrast to her relationship with Don Jose, her feelings here feel genuine and you can see she is in love this time. The production builds swiftly to its ending when Don Jose discovers Carmen’s plans to marry Escamillo, and in a fit of jealous rage, tragedy strikes.

Overall, Acosta’s Carmen succeeds in offering a fresh Cuban-contemporary fusion alongside classical ballet. At just 1 hour and 40 minutes including an interval, much shorter than the classic opera, feels purposeful rather than rushed, keeping the story largely clear and engaging throughout.

Acosta Danza Carmen is on at The Opera House until Saturday 25th April tickets available here.

The Boy at the Back of the Class

Leave a comment

Reviewed by Gill and Stan Selkirk

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

The Boy at the Back of the Class is a well-loved book for many school children. This award-winning book by Onjali Q. Raúf has been adapted by Nick Ahar and is now a 2026 Oliver Award-winning stage show. It tells the story of Ahmet, a refugee boy from Syria. Even though the book is aimed at children this play can absolutely be enjoyed by all ages.

We follow Ahmet played by Serkan Avlik as he tries to settle into his new school in a different country. He is welcomed by a very caring girl called Alexa played by Sasha Desouza-Willock and her friends “The A Team” as they try and help this new boy, who sits quietly at the back of the class. They learn he is a refugee, which is a word they are not familiar with, after learning more about his heartbreaking situation they make it their mission to help reunite Ahmet with his family.

Despite most of the children being welcoming and trying to find ways around the language barrier using games and sharing snacks, Ahmet still must deal with awful treatment from the school bully Brendan played by Max Jordan, some of the parents, and even a teacher.

The story is told through the children’s eyes. Which gives it a refreshing innocence. It challenges why things are accepted by so many in the current world we live in. At no point during this production did I feel it had been dumbed down for children. 

It manages to be accessible, thought provoking and interesting for all. Even with the difficult topic the creators still managed to include plenty of giggles for all the audience. More political moments, are handled well and clearly show the responsibility politicians and the press have in how they portray refugees. 

The brilliantly talented cast are played by adults which works extremely well. Together as the friends Alexa, Michael, Josie and Tom all provide plenty of humour without losing the more serious message in the story. Alexa is also our narrator, she does this with a child’s innocence but allows her incredible determination for justice to shine through as she switches from directly addressing the audience back to the story seamlessly, fidgeting throughout, like many 9-year-old children but then can switch to play the adult characters perfectly.

Jonny Walker is the over-enthusiastic American Tom, who is full of energy and positivity, even managing to continue his performance upside down exercising. Natasha Lewis plays Mum and Mrs Khan, she does this brilliantly with care and compassion being the sort of teacher we all would want. 

Petra Joan-Athene plays star-crazy friend Josie, as well as some of the adult roles, easily switching between her many personas. Serkan Avlik plays Ahmet, our title character in such a way we instantly warm to him, and we are all in his corner, his sadness and fear at the beginning is all-encompassing but we slowly see him become a happier and more confident person as the show goes on. 

Direction by Monique Touko ensures the energetic pace means the audience attention is held throughout thanks to this well told story; incorporating Ahmet talking to the audience making us feel like we are even more invested in the outcome of this story, we see the situation through his eyes and the genuine struggle of many refugees, allowing us to see them as individuals with their own stories rather than the way they are shown often in the media. 

Set design is by Lilly Arnold and adds wonderfully to the storytelling. The backdrop is the kind of PE apparatus that many school children still know and adults remember. This backdrop is easily adaptable, making way for many scenes and works incredibly well along with some great sound effects even transforming to the gates of Buckingham Palace as well as the classroom.

Nick Ahad’s stage adaptation of this best-selling novel has been done beautifully. It manages to be funny and incredibly moving (tissues needed at the end) and portrays such a difficult subject with humanity.

Stan Selkirk – aged 10

I saw The Boy at the Back of the Class at The Lowry and I really enjoyed it. Some bits were funny and made everyone laugh, but other parts were serious and made me feel a bit sad for Ahmet. It taught me a lot about refugees and how hard life can be for them, and it also showed how important it is to stand up to bullying.

The show made me think about how even small acts of kindness can help someone. I liked how the kids in the story tried to help instead of just talking about it. Even though I don’t think I could travel to Buckingham Palace I always try and be kind and help others and I hope as I get older, I can do this more to change the way people treat refugees like Ahmet.

The whole show was produced well – the acting, the set, everything. When it finished, I felt like I’d learned something important and I kept thinking about it afterwards.

We talked about it driving home last night and all thought things need to change, and we all need to be part of this. I learnt that we shouldn’t worry about asking questions and what words mean to help us understand and change things for the better, I hope I can do this more as I get older. 

The Boy at the Back of the Class is on at The Lowry until Saturday 18th April tickets and further information are available here.

Ballet Black at 25

Leave a comment

Reviewed by Maddie Shimwell

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

To mark a quarter of a century of beautiful storytelling and cultural impact, Cassa Pancho’s Ballet Black are touring the UK with their Anniversary Programme. The company comprises of 11 dancers. Each artist is given space to showcase their individuality, reinforcing Ballet Blacks continuous commitment and determination to celebrating ballet without stereotype or limitations.

The show opened with ‘…all towards hope.’. A bright and uplifting work choreographed by Hope Boykin. The piece began with the dancers moving to spoken word, written and recorded by Hope herself, immediately setting the tone of unity and having purpose. The message of working collectively to create change and inspire hope, resonated throughout. The choreography was fast paced and technically demanding with intricate footwork, yet this was executed with such precision and an ability to make this seem so effortless.

What really stood out to me was the intentional focus of each dancer as an individual. There was a real sense of celebration of each performer’s own artistry within the company. It added to the message of working towards the same goal together, without the need for uniformity.

One dancer who I could not take my eyes off, was Junior Artist, Bhungane Mehlomakulu who radiated pure joy and I couldn’t help but beam whenever he came on stage. The decision to allow each dancer their own moment for bows, further emphasised the message of celebrating individuality within togetherness. It was a wonderful piece to start the evening with, and did exactly what it says on the tin, delivered hope to those who watched it.

The second piece of the double bill was ‘INGOMA’ choreographed by Mthuthuzeli November. It is the most captivating piece of storytelling I have ever seen. This was an incredibly emotive performance depicting the aftermath of the horrific massacre at the African mine workers’ strike in Marikana 2012 focussing on the grief experienced by the families left behind. The artists showed such emotional depth to their performance. Conveying their despair, anger and pain with authenticity and physical intensity.

The work was incredibly physical and rhythmical, requiring a huge amount of stamina and strength, and each artist rose to the challenge. It was unbelievably inspiring, thought-provoking and showed the power of dance.

The evening was an emotional rollercoaster from hope to heartbreak, and they took us along for the ride. The whole company deserved the standing ovation they received, acknowledging the incredible talent on stage.

Further information and tour dates can be found here.

The Old Vic’s A Christmas Carol comes to Salford

Leave a comment

The Old Vic is delighted to announce that Matthew Warchus’ much-loved, Tony Award-winning  A Christmas Carol, adapted for the stage by Jack Thorne (His Dark Materials, Harry Potter and The Cursed Child), will play at Lowry, Salford from 11 Dec 2026–10 Jan 2027.   

This will be the first time since its world premiere in 2017 that the show will be seen in another UK city, offering the chance for even more people to experience this magical show firsthand.

The Old Vic’s Artistic Director and Director of A Christmas Carol, Matthew Warchus, said: ‘For ten years now this production of A Christmas Carol has been delighting audiences from London and beyond and I am immensely proud of the impact it continues to have on audiences – whether it be their first time seeing the show or one visit of many. To now be able to share the joy of this production with the Lowry and its audiences makes this year a truly special one.’  

Lowry’s Chief Executive, Julia Fawcett, said ‘We’re absolutely thrilled to be working with The Old Vic – one of the UK’s leading theatres – to present their landmark production of A Christmas Carol – one of the most exciting, joyous and moving Christmas productions you’ll ever see. It’s the first time the show will have been presented in the UK outside of London – a real landmark moment for theatre in the region. We know North West audiences are in for something very special this festive season and everyone at the Lowry is delighted to be welcoming the show to Salford and presenting it on our Lyric stage.’

A Christmas Carol fills the auditorium to the brim with mince pies, music and merriment in this unique big-hearted production full of music and festive cheer.

Tickets are on priority sale to Lowry Members now and on general sale on Tue 31 Mar at 10am. Further details, including cast, are still to be announced. Tickets and further info can be found here.